Pitchfork's such a crapshoot but has been broadly positive about Wire in the past, and so it's great to see that 8.2. Here's hoping it in Google knocks off the NME review and leaves that trampled on the internet's floor, where it belongs.

Yeah, they've actually been very positive about Wire over the years. They even gave Object 47 a better score than it probably deserved.

Most of the negative/lukewarm reviews seem centered around the production. While I can understand how it couldn't be everyone's cup of tea it seems weird to let that overpower the strength of the material. I wasn't too keen on how Send was produced (esp the drums) but I can still really enjoy that album.

I think the Pitchfork review is clearly written by someone who has done their Wire homework and knows how to join the relevant dots. Currently the first thing you see when you hit the front page too, all good for getting the word out.

I think the comment about D&E and Coatings is valid in the context of how those lo-fi and occasionally chaotic performances compare with this pristine and very structured new record. Far from dismissing D&E I think a lot of Pitchfork readers will take that as a cue to check out Wire's weirder back pages and retrace their steps (perhaps heading down the branch lines that will lead them to Dome, solo Bruce and who knows where else).

For the life of me, I can't fathom why anyone could have a problem with the production on CBU, as it's immaculate if you ask me. Can't abide O47 - the material's pretty weak anyway, but the production is horrible - much of the guitar is reduced to a vague mush in the background. CBU, by contrast, sounds pristine (bearing in mind I much prefer glossily-produced Wire, however).

I agree Dr Up. CBU is a very 'clean' sounding record with every instrument coming through clearly. Maybe in time CBU will grow on me more because right now I feel it sags a little round the middle with B/W Silence and Time Lock Fog.

I'm hopeful these tracks will worm their way into my affection. But as things stand Red Barked Tree still beats CBU, for me. I know a lot of forum folk may disagree with that opinion, but as some pundit once said...that's what the game's all about!

On production, I think the only thing I can agree with is the criticism of the vocal treatments. They're a bit over the top with the chorus effect and although some have described that as an otherworldly quality, it's a bit too alien at times. However, those writers claiming this suddenly arrived are way off, given that Colin's been doing a lot of treatment on vocals since Wire reformed in the 2000s.

For me, much of the other criticism doesn't really stand up. The mix is quite thick and dense, but it's not syrupy or gloopy. You can hear everything, and everything is also prioritised. It's not like Mr Marx's Table, where Rob's barely in the mix, or O47, where the guitar lines are practically erased from existence. Here, the drums, bass and guitars are all there; synths provide added atmosphere; even simple two-note angles are clearly in the mix.

There have also been comments from some reviewers about a lack of range across the album, which is mind-boggling and suggests they listened to it in the background once before smashing keys on their keyboards. Others then criticise the album as not being coherent, which suggests they know little about Wire but also haven't really explored whether the album hangs together or not. Like 154, CBU to me somehow feels diverse and coherent.

Frankly, it's great to see Pitchfork's review. It's an important publication in these times, and the review currently tops the table on Metacritic (with NME at the other end—there's some kind of analogy there for people who want to see it).

Good review, but those (thankfully) really aren't the lyrics in that bit of Love Bends. They are: Love bends are cursed, strike you down from behind / Give you night vision, makes you soft, make you kind.

Louder than War aka 'Punks Don't Proof-Read'. They famously don't let boring things like facts get in the way of raw, punk rock writing.Seriously though, that misheard text implies a rather misogynist intention that isn't there. I'm inclined to email them and ask them to correct it...unless someone has beaten me to it?